Black Mary is the general name given to all paintings and sculptures of Mary, who was depicted as having dark skin, especially in Christian Medieval Europe of the 12th and 15th centuries. These special depictions of the Virgin Mary, who was conceived as an intercessor between God and man in the Christian world and believed to work miracles, turned into a "sacred" symbol in the centuries in question, where she took her place in various cathedrals, churches and monasteries. The aim of this article is to examine the relationship between the Earthmother, who was engraved in the collective subconscious of human beings as the first "universal feminine" prototype, and the mother-goddesses, who were formed by dreaming her many times throughout the historical process, and the Black Madonnas, and to examine the reincarnation of these dark-skinned Madonnas in the Middle Ages. The aim is to reveal various opinions about whether they are a Christian version of the mother-goddess figure believed to be. In addition, in today's understanding of art, where various symbolic elements that represent holiness can undergo demystification and desublimation, Black Madonnas have turned into extremely "subjective" symbols in the depictions of painters and sculptors who use an "original" pragmatic art language and point to "special" codes in the modern period. Therefore, this article will focus on the artists of the Black Madonna depictions and their most prominent works, which have undergone dramatic transformations in terms of both form and content from the 19th century to the present.
Keywords: Myth, Mother-Goddess, Virgin Mary, Black Madonna